llVIU I think google managed to create AI with more character than Hanna. It's like Hanna doesn't have a brain at all... she seems so shallow and from another planet. And of course, she's a 40 kg who can easily take down guys 3 times her size. Because in every action movie, the main character has to be someone with super duper kung fu skills.We barely get any story behind characters... no clever action sequences, nothing. and there WAS room for hanna to act all amazed at society, but no. It seems like she fits perfectly into a society that she has never even SEEN before in her life. No consistency, no explanation, nothing. Lame as hell. Ending is crap and unfinished. I bet the script for this movie was less than 3 pages.One good thing about this movie is that it makes other movies like the matrix, seem so much better in comparison. You now have a scale to compare a good movie with depth (matrix) with a shallow movie with no depth (hanna).

Lee Eisenberg Joe Wright's "Hanna" has to be one of the most surprising - and impressive - movies that I've seen. The action, and the title character's toughness make this one movie that you have to see. I understand that the movie incorporates fairy tale themes - the girl shielded from the world's harshness suddenly has to face it head-on - but it's possible to ignore that and simply admire how Hanna doesn't fear anyone (electrical objects, on the other hand...). I also liked how they play with the audience: at first it looks as if it's a story of a girl and her father living off the grid, but then the real story begins and doesn't let up.Having seen it all these years after it got released, it's interesting that some of the people involved in it are now notable from recent movies. Joe Wright directed "Darkest Hour", Saoirse Ronan starred in "Lady Bird" and Vicky Krieps starred in "Phantom Thread". But you can ignore that and enjoy the high-paced action (and pay attention to the social commentary).Good one.

samuel_ronalds "Hanna" is an action-thriller film whose script is entirely in service of its spectacle. The story that is unveiled throughout is somewhat clichéd and predictable, yet this is only a minor drawback in what is otherwise a masterful film. The notion of a girl raised as a deadly assassin who must travel the world in order to reunite with her ex-special agent father, whilst evading operative forces seeking to impede her efforts, is a story that serves entirely as a stage, upon which a flourishing display can take place. Yet the display that does take place is not vapid and mind-numbing - instead, Hannah takes every opportunity to enrich the stage it has been set upon. Every character is provided a degree of complexity, often through background and nuanced acting - even supporting characters that aren't central to the plot. The most impressive performance is undoubtedly by Cate Blanchett - although her Southern drawl wavers throughout the film, there are certain scenes where her character displays a very refrained vulnerability, often at the mention of children as a topic of discussion. The result of expounding upon such latent notions within the screenplay is a flurrying demonstration of drama, emotion and even humour - the eponymous character of Hanna even undergoes emotional developments pertaining to being a teenage girl experiencing the world for the first time, despite the film being focused on action and suspense, and not a coming-of-age setup. With the writing forming the stage, and vivid dialogue and impressive acting enriching the stage into a blossomed garden, it inevitably follows that this garden is to be inhabited. It is, and with staggering talent and craftsmanship. "Hanna" is primarily an action film, and this action is superbly choreographed and shot. In fact, the entire film is shot beautifully, achieving a unique and perhaps unprecedented combination of razor-sharp editing and elegant hand-held camera-work. The result is a film that is as sharp as it is graceful, allowing the film to achieve a precise and exacting approach necessary to uphold the action-oriented and suspenseful aspects of the narrative, whilst also imbuing every sequence with an overarching beauty and sense of lyricism. The rapid editing also allows the film to veer deftly between its various tones - emotional, anxious, humorous, etc. - without hovering over one for too long, while the melodic camera work ensures that the quick changes are not jarring, and are instead agile and smooth. Also, the quick pacing of the film allows information to be conveyed at a swift rate, preventing the narrative from stalling while ensuring that we learn as much as there is to learn. There are also many stylistic elements that exist outside of either of these qualities - some emphasize the exhilaration of particular moments, such as whirling 360-degree spins of the frame, whilst otherwise illustrate the overwhelming stress felt by a character, such as jagged montages paired with swelling noises. The cinematography is also an astounding feature - most shots within the film are beautifully composed, some of which are on the screen within the blink of an eye. The soundtrack compliments the film's visual style perfectly - a blend of pulsating electronica and warm melodies. The music is also paired with specific on-screen motions with expert grace - whether the rhythm of a piece syncopates with the flashing of lights within a dark tunnel, or brief yet soaring strings mimic Hanna's leaps across space. The overall aesthetic of the film is highly idiosyncratic - the film is primarily action-oriented, and is highly stylistic in its approach, and often to the benefit of the written material. Hence, "Hanna" could be regarded as an art-house action film - however, the film doesn't possess the aesthetics typically associated with such an area of cinema, i.e. slick, neon-lit visuals. Instead, the film's aesthetic closer resembles that of art-house drama films, perhaps of European cinema. This unusual juxtaposition works perfectly in accentuating "Hanna('s)" beauty and action-oriented intensity, combined with the fact that no single stylistic or technical element is emphasised to a greater degree than the rest - instead, every element flows so fittingly into the other, welding together a radiant mosaic of an experience. The film loses some sway toward the conclusion - the fact that the story serves as a set-up for the spectacle does result in a somewhat unsatisfying payoff - there is little drama and tension exuded from the final confrontation, and the film feels as though it were wrapped up rather than concluded. The main antagonist essentially slips to her death, and it feels like this was written in for efficiency. However, this is a minor drawback in what is otherwise a phenomenal film. Overall, "Hanna" is a polystylistic masterpiece, bolstered by a kaleidoscopic aesthetic and powerful writing and acting.

grantss Good action-thriller. Slow-building, gritty, plot is very intriguing. Too complex though, with many loose ends which never get tied up. A bit more explanation of certain aspects of the plot was called for, as it would have made the story more coherent. However, it was good that certain details weren't spoon-fed to the audience, being slowly bled in. Solid direction. Fight scenes are exciting, without being too plentiful and thus seeming to be the only focus of the movie (unlike many martial arts movies).Good performance from Saoirse Ronan in the lead role. Solid support from Eric Bana and Cate Blanchett.